Bluegrass and “Folk”

The folk revival in the United States showed a growing interest in American folk music styles and was accompanied by various folk festivals. The first newspaper article advertises a folk festival that happened in 1970. Bill Monroe and the Bluegrass Boys are listed first, and there are other performers listed, such as blues guitarist Bukka White, a Mexican-American band, and two American Indians. With bluegrass music grouped alongside, and even above these other prominent folk music styles, it is interesting to look at bluegrass music and how and when it became recognized and categorized.

 

From my experiences of growing up with “folk” music, I would have assumed that bluegrass music would be at the heart of any discussion of American folk music. Most of the folk music I knew about was bluegrass, and the bluegrass music seemed to embody the meaning of folk. One article I found claims that bluegrass music is “the purest type of music in the world today.” For what reasons would this author claim that bluegrass music is the purest music? Perhaps they are the same reasons that led me to believe that bluegrass music was the most “folk” out of any other music I knew.

This bold claim may just be a strategic advertisement that simply reflects a desire to attract audiences, but there is no doubt that it connects to the role of bluegrass music in the folk revival. “Pure” in this context most likely means historically authentic. We have to question how “authentic” bluegrass music is. There are a few things that contradict the idea that it is purely folk music by definition. Richard Crawford notes that bluegrass music is based in the popular sphere, but looks towards the traditional sphere. Bluegrass music is defined by its old-fashioned instrumentation and older influences, such as Anglo-American folk singing and field hollers. While the connections to the past are strong, it is still a and it is known as a modern representation of Appalachian folk music with ties to popular music. Another contradiction has to do with the conception that folk music doesn’t have a clear original source. While bluegrass has many earlier influences that contributed to its existence, there is a more clear beginning with Bill Monroe and Earl Scruggs at the Grand Ole Opry. These facts don’t mean that bluegrass music isn’t folk music or that its history is too different from other folk music styles. However, I wonder what gave the writer of the second article and myself the impression that it was the purest form of music, or that it was the epitome of folk music.

Sources

Crawford, Richard. America’s Musical Life. New York: W. W. Norton & Company, Inc., 2001.

Evans, David. “Folk Revival Music.” The Journal of American Folklore 92, no. 363 (1979): 108-15.

Haring, Lee. “The Folk Music Revival.” The Journal of American Folklore 86, no. 339 (1973): 60.

Tribe, Ivan M. Mountaineer Jamboree. Lexington: University Press of Kentucky, 1984.

 

Can Bluegrass be Categorized as “Folk” music ?

There is a discussion about whether bluegrass music, a kind of music promoted and developed by Bill Monroe and his Blue Grass Boys band from 1950s, is “authentic” folk music. According to the research I did, by the time bluegrass music had been labeled as “folk”, the hallmarks of the style (e.g. acoustic instruments, fast tempo and high tenor vocals) included many of the features that had originally made up by Monroe himself, as an “original invention”, not a subgenre of “folk” music or folk revival. However, bluegrass was adopted by the revivalists later as a type of “folk” music since revivalists subjected bluegrass to ideals of authenticity that have.

When Steve Rathe interviewed Bill Monroe in Dec. 10, 1973, Bill Monroe first told audience about “what bluegrass music is and what elements have gone into its composition”.

 Ewing, Tom, ed. The Bill Monroe Reader. University of Illinois Press, 2000.

From this interview, I can see that Bill Monroe saw his music as a new production, a synthesis of genres he admired, and a way of making profits. However, at this time bluegrass music had not been ”absorbed” by folk revivalist and the best way of gaining this kind of acceptance was to characterize bluegrass as ”folk”. I assumed that it won’t be hard to see bluegrass as folk music, since it featuring much of the traditional repertoire that interested the revivalists.

For example, from the interview Bill Monroe also mentioned his reproduction of Mule Skinner Blues, which completely fit in his definition of bluegrass. I was disappointed of not being able to find an online score of this song, but I can still recognize some characteristics he mentioned in the recording.

 

The song uses the instrumentation of bass, fiddle, mandolin, guitar, banjo. The rhythm, especially the syncopation featured a combination of blues songs and early 20th-century pop song, with fast-paced instrumental breakdowns. After a short entrance, Bill starts with his high-pitched, “lonesome” vocal line with four-parts harmony; and he shows his use of the folk tune “the little mule” in the second stanza. Also, he separates song verses and choruses with virtuosic instrumental soloing.

However, since bluegrass had its origins as a commercial country music in which artists performed on the Grand Ole Opry and recorded for major labels, the music couldn’t hold up as an unchanging tradition that was anti-commercial and “from the mass”. As far as I understand, putting bluegrass in folk genre was an imagined construction and lack of grounding support. Asserting membership in a genre can thus be a form of cultural affirmation, a process that Allan Moore has identified as “second person” arises when a performer succeeds in conveying the impression to the listener that the listener’s experience of life is validated.

I would love to end with what Charles Keil said about folk music:

Keil, Charles. “Who Needs” The Folk”?.” Journal of the Folklore Institute(1978): 263-265. http://www.jstor.org/stable/3813980

 

 

Resource:Ewing, Tom, ed. The Bill Monroe Reader. University of Illinois Press, 2000.

 

Keil, Charles. “Who Needs” The Folk”?.” Journal of the Folklore Institute(1978): 263-265. http://www.jstor.org/stable/3813980